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Text über den Künstler - English

Radenko Milak creates a space for a new way of looking via the translation of appropriated photographic motifs into watercolor. He modifies the formal pictorial language of source material found on the internet, in print media and films and therefore generates renewed interest in historical events on the part of the viewer. For KOENIG2 Radenko Milak has created a unique series which formally and in terms of content follows on the series of works created in 2013, '365 – Image of Time', yet which chronologically relates to the date of the opening of the exhibition: thus, September 14th becomes a leitmotif for all of the works shown here.

Isadora Duncan, the Twin Towers in New York, or the inauguration of Theodore Roosevelt as the 26th President of the United States: it is not Duncan's terrible death that serves as an artistic model, but rather her grace in dancing and choreography; it is not the crashing of the airplane into the building, but the devastation in New York days and even weeks afterwards. Roosevelt smilingly waves at the public, but his designation is inextricably connected to the assassination of his predecessor, William McKinley. The artist creates images whose ominous content first becomes visible via the contextualization in the titles. The causes and effects of an event are, in his work, of greater relevance than the precise moment of the occurrence.

It is the confrontation with catastrophes which has greatly occupied Milak most recently, and which is tangible in an extended form in the Bosnian pavilion of this year's Venice Biennale. In contrast to the majority of solo presentations by the countries, Milak expands his contribution in that, in addition to his own monographic show, he invites international artists, curators and writers to a direct dialogue. The goal, as stated in the accompanying publication, is the creation of a collective space for the transfer of knowledge and imagination.

The preferred artistic media for his black-and-white series are generally watercolors, but he also works with painting, drawing, installations and animations. The image as topos and the uninterrupted, multi-media flood of images are the principal considerations of his praxis. Milak questions the historical and contemporary realities in that he transfers the over-medicalization, and the hype often generated from it, into a type of fiction by means of his technical virtuosity. Especially in those moments when the contours threaten to dissolve, as in an out-of-focus photo, the impression emerges of a resolution, which is also contextual.

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